SEW Region Magazine June 2018

SEW

Issue No 13 June 2018

The Queen of the Desert Michele Carragher embroiders the Ball Gown

Anna Slawinska ­ Quilter Describes the making of "The Night Meadow"

The Erotic Cloth A Report on Lesley Millar & Alice Kettle's new Book

The Magazine of the South East West Region of the Embroiderers' Guild

SEW REGION

CONTENTS

Features 62 From Sheep to Yarn How the fleece is turned into a ball of wool 80 Echoes from the past Discovering family tablecloths

Press the Numbers to take you to the Page Click on the arrows to return to contents page

82 Bassingstoke College of Technology Revisited Paying with the Technology College's facilities 98 The Region's Winners of the 2017/8 Members Challenge

4 Michele Carragher The Ball Gown for the Queen of the Desert video 14 Anna Slawinska The Night Meadow Video 20 Embroidery Visited Space The Emblems for the Virgin Galactic Video 23 The Embroiderers' Guild AGM An impression from a first time visitor 42 In Conversation with Linda Miller The work of a free machine embroiderer All articles and photographs used in this magazine are the copyright of their authors. The magazine's content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.

The Magazine can not accept liability for errors and omissions. It is the responsibility of the contributors to take reasonable care not to breach other's copyright, and to ensure that all making instructions do not breach the Health & Safety Regulations.

Books 30 Erotic Cloth Lesley Miller and Alice Kettle 51 Fashion Embroidery Jessica Pile 92 Just Stitch Lesley Turpin­Delport & Nikki Delport­ Wepener 93 Stitch Stories Cas Holmes 94 Stitches Textiles ­ Nature Stephanie Redfern 95 Joyful Stitching Laura Wasilowski 96 Ribbon Embroidery and Stump Work Di van Niekerk

Regular Features 58 Sampled Lives, An Exhibition of Samplers From the Fitzwilliam Museum Archives

70 Art is a Journey not a Destination The Oxford Textile Group Celebrate 25 years

Travel and Pastimes 52 Colourful Guatemala The memories of an inspirational journey 74 The Steamship Arabia Museum A Kansas City Gem 88 The Reading Branch of the Embroiderers' Guild A potted History 86 Reading on Thames A tour of Reading Video Cover Photo: Precious Memories by Jo Beattie

Michele

M ichele C ar agher

Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on Film and Television productions for over 19 years. She initially worked as a Costume Assistant/Maker on productions such as the BBC's Our Mutual Friend, ITV's David Copperfield and Mansfield Park.

Michele was Principal Costume Embroiderer for Elizabeth 1. Her most recent work has been on the costume award-winning television series Game of Thrones, working on all seven seasons.

As a Costume Embroiderer she specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine. It is also possible to work more easily on garments that are already constructed.

Michele is a highly creative Costume Hand Embroiderer, producing original designs as well as working closely to a Costume Designer's brief to create their desired look.

QUEEN OF THE THE BALL GOWN

Time constraints have always

been the main adversary for a Costume Department working on a Film or Television production. So we sometimes have to be inventive in order to present a more complex impression of beauty of the screen, than there has been the time to create.

Michele Carragher

based on a historical biography of the life of Gertrude Bell, an English archaeologist, writer and political attaché ,who was a powerful political voice within British foreign policy regarding the Middle East. In the film Bell is played by Nicole Kidman.

One of the costumes that I

worked on for Nicole was a ball n one project that I needed to gown that needed to be light and joyous reflecting Bell’s create something that looked mood and passion for her life at quite detailed and exquisite, that time. The ball gown took within a limited time, was for a film set in the late Victorian era inspiration from the dresses designed by Charles Frederick called “Queen of the Desert”,

O

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DESERT Worth, an English 19th Century Fashion Designer who is widely considered as the Father of Haute Couture.

To inspire my embroidery

design for this costume the Costume Designer gave me reference pictures of various plants, one of which depicted sprigs of blue sea thistle and a particular note she gave me was that she wanted the design to look quite watery and dewy.

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o for this decoration as time was Stight I decided to paint the design

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onto the fabric of the skirt and bodice panels, which saves time as my embroidery doesn't have to be so dense and the paint work fills in the picture lower down on the skirt where I wouldn't have time to embroider fully.

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I then stitched into the design on the bodice panels and the top of the skirt panels around the hip, trailing off down the front, and added further bead and sequin decoration to the design.

I wanted to make sure that

the decoration would register on screen so I used many tiny light reflecting beads and crystals, that to the naked eye had quite subtle tones but would sparkle and shimmer when filming.

The Designer also

requested a corsage to be made for one shoulder of the costume. So I set about creating something that would echo the design on the dress. For this I used wire and beads twisted together for the smaller jewel like flower sprigs, and then I made a couple of more thistle like flowers by embroidering on velvet and silk, wiring the edge of the petals. I twisted all the elements together and added some 11

hand painted silk Habota and organza ribbon to finish it off.

It took me around 14 days to sample and then embellish the

dress, but I imagine if I had been required to fully embroider the dress it would most likely have taken twice as long. So it shows you can do wonders by being inventive and choosing the right materials and colour palette. On a positive note when working under pressure to tight deadlines you can also stumble onto new possibilities that can influence and enhance your creative work.

Queen of the Desert Benaroya Pictures michelecarragherembroidery.com

See a video of Michele's embroidery 12

Following the exhibition by

All the trees donated to

Embroiderers' Guild members

Stansted Park are recorded in

at Stansted Park, Rowlands

the "Tree Book".

Castle, Hampshire, a tree was planted in the Stansted Forest.

EMBROIDERERS' GUILD EXHIBITION COMMERATED BY TREE PLANTING The Book is housed in a glass cabinet in the house for all to see this permanent record.

This was to commemorate the Embroiderers' Guild Capability Brown Exhibition.

Perhaps the tree will have grown su

ciently to celebrate

the 400th Anniversary of Capability Brown. It's got a bit of a way to go!

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Anna Slawinska Anna is a quilter and a teacher. She is a member of the Polish Patchwork Association.

She has taken part in seven individual and even more collective exhibitions at home and abroad. Her quilts have taken first place in quilting competitions organized by Strima (2011) and Lucznik (2013). In August 2016 her quilt "Trifid Nebula" was exhibited in Birmingham at the category of Fine Art Quilt Masters. Her favourite quilting trend is "artistic trend", and her favourite techniques are "confetti" and "stitch and slash". Using these techniques she is"painting" her quilts using fabrics. She likes to experiment with fabrics. Her paintings are her inspiration.

The Night Meadow Anna Slawinska

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From the beginning I knew that it would be the "Night" meadow.

I wanted it to be the same size as the lastest quilts I made, that is, about 100 x 100 cm. So it was supposed to be “Large". The largest of all my “ Meadows”.

How was it created?

For a long time I wanted to sew two versions of the meadow: The Night ­ dark blue and The Snow – white.

A Night Meadow hatched quickly.

I saw a picture in colours, which really made a statement:­ dark blue, white and very bright green falling into yellow. I knew that "this is it!" I also knew that there should be a contrasting statement of soft, deep and elegantly glossy velvet and organza covered in net.

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I constructed the quilt using “confetti”.

Layering the image, it went very quickly, even without thinking, without analysing and without changes. As I worked it became very heavy and sewing became difficult. I had to pleat quilt quite densely. I wanted the places without quilting to be convex and in some I cut back the tulle.

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The “White Meadow” ? I still have to rethink!!

The white one follows behind me and then walks away. I do not know how to go about this project. I have already gathered a lot of pictures for inspiration. I am planning projects in my head but there are still some “buts”, For several days my studio is covered with a thick layer of white fabrics, slightly ecru, slightly grey …... nothing ... ..I still do not know!

To see a short Film By Anna Click here

Translated from the Polish tp://www.annaslawinska.pl 19

Scott Heron from Hand & Lock, oversaw an exciting, highly sensitive and secretive project to design and make the emblems for the Virgin Galactic space uniforms.

Virgin Galactic is one of only a handful of made of silver bullion in the traditional commercial spaceflight companies

style associated with the British Royal

competing to make space travel tourism a

forces.

reality.

The spaceflight shown in the film features On the April 5th the Virgin spacecraft the space crew wearing Scott’s embroidery ‘Spaceship Two Unity Powered Flight 1’ interpretation of the Virgin Galactic logo.

took off from the Mojave desert in California, with Chief Pilot Dave Mackay

The stylish and contemporary badges are 20

at the controls.

The new space craft took off from the

The crew emerged to crowds of onlookers

runway in a conventional aeroplane style

keen to witness the historic flight for

before separating high in the sky with the

themselves.

rocket section blasting off into the high atmosphere.

Hand & Lock’s embroidery details are visible on the chests, arms and on the back

Then, way above the earth’s atmosphere,

of the uniforms.

the crew were able to enjoy spectacular views of the planet from the edge of space, Perhaps not the first embroidery to go into before returning to the Mojave desert for a space but certainly the first Hand & Lock smooth landing.

embroidery to visit the cosmos. http://handembroidery.com

Click on the icon to see a video of ‘Spaceship Two Unity Powered Flight 1’

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On Saturday 14th April members of the Embroiderers' Guild met at the Church of Christ the Corner Stone in Milton Keynes for the annual AGM

inspiring

BY Lynn Love

sociable

day Being relatively new to the Embroiderers’ Guild, I thought I would attend this year’s AGM, so I would understand more about the EG, but I gained so much more than a greater understanding. I was enthused when

chatting to the many like minded people at the meeting including others from the SEW Region. I was stimulated by the speakers and inspired by the work exhibited.

Meeting an old friend made the day extra special.

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If the meeting had been only the Guild AGM, then I am not sure that it would have attracted me to drive to Milton Keynes. But the day comprised of talks, an awards ceremony, two EG portfolios (available for loan to branches through the Guild website), the Members' Challenge exhibition pieces, as well as the AGM meeting itself. One of the portfolios on display was a newly created one and showed the colourful, beautifully hand­stitched work of Gilda Baron.

Jan Beaney and Jean Littlejohn welcomed everyone to what was their last AGM as Joint Presidents.

They introduced the first speaker ­ textile artist, Jo Beattie.

Jo started her presentation entitled ‘Hand, head and heart’ by quoting Victorian art critic and patron John Ruskin who said ‘Fine art is that in 24

which the hand, the head, and the heart of man come together’. The first part of Jo’s talk looked at the development of her work which is all about memories of people she has loved. Jo’s work looks at people’s patterns and colours and how that became inseparable from her image and memories of them. Jo’s most recent work uses shadow to reflect the image.

In the second part of Jo’s presentation she elaborated on a subject very close to her heart after 40 years of teaching in secondary education; creativity within schools.

‘Is textiles an art or a craft?’ was also a question Jo discussed.

The important topic of Secondary School Education was also discussed later in the meeting by EG’s Artistic Director, Anthea Godfrey.

The AGM took place between the two speakers At the end of the AGM, sadly it was time for Jan and Jean to step down as Joint Presidents.

It was wonderful to be able to throughout the day, admire the work of so many talented textile artists in the exhibition. Also it was encouraging to see so many entries for the 2017­2018 Members’ Challenge; maybe even more of us will have a go at the 2018­2019 challenge ‘Life’s rich pattern’?

Jo Beattie

All the Winners of the Members' Challenge were on exhibition together with all the entries to the competition.

Sonia Jackson, Chair of the Teme Valley Branch, spoke from the floor about a very informative and enjoyable trip her branch had made to Buckinghamshire to see the EG Collection and she urged any branches who have not yet seen the Collection in its new home, to make arrangements to do so.

To make a donation for the Care of the Collection please donate through the Guild's web site

Sonia went on to thank the Aylesbury Vale Branch for all their hard work, as volunteers, auditing the Collection in Halton and assisting with exhibitions in Aylesbury.

Reiko Sudo exhibition. photo ROGER BAMBER

The second speaker was Professor Lesley Millar MBE

Lesley is Director of the International Textile Research Centre and Professor of Textile Culture at the University of the Creative Art. As you can imagine from such a highly qualified person, Lesley’s talk was stimulating, enjoyable and very thought provoking.

Lesley focused on contemporary textiles including those that have emerged from a strong traditional practice and had reflected a particular culture.

In her introduction Lesley told us how she had trained as a weaver and ran her own successful studio for almost 30 years before turning her attention to the promotion of contemporary 26

textile practice.

She is the creator of many exhibitions working in the UK and Japan. More recently she has also formed creative links with Scandinavia and the Baltic countries. She focuses on contemporary textiles as intervention in the built environment, contemporary textiles that have emerged from a strong traditional practice, contemporary textiles that reflect a particular culture.

The Book the Erotic Cloth Seduction and Fetishism in Textiles Edited by Lesley Miller and Alice Kettle Lesley also spoke about her latest book which is The Erotic Cloth. This is in collaboration with Alice Kettle.

Here they explore the sensual engagement of cloth through dissertations from various diverse artists.

After tea came the awards ceremony.

As well as the awards for the different categories in the members' Challenge, there was a new Trustees' Award – For this award the recipients are nominated by members and chosen by the Executive Committee.

There were 5 new awards this year

Photo: Asako Ishizaki

The trustees were particularly impressed by award submissions that centred on contributions to branches and regions. The winners of this award were Jenny Blackburn, Lorraine Challis, June Gregory, Jackie Wolsey and Marianne Young.

The Executive Award was given to Anne Walden­Mills for all the hard work she has done for the EG, at Branch, Regional and National level as a Trustee.

Anne was the very well deserved recipient of this year’s Executive Award. Well done Anne!

From what I have written you can see why I entitled this piece ‘Inspiring, Sociable Day’. The Milton Keynes Branch, who made a wonderful job of organising and hosting the day, kindly gave all participants a gift. I am now looking for inspiration to turn this lovely gift into a piece of textile art, maybe for a travelling book?

Executive Award 2018 Presented to Anne Walden-Mills Presented by the CEO to a person who has made an exceptional contribution to the life and work of the Guild, particularly the work that oils the wheels and makes it possible for us to get things done… it is an essential contribution but one that is too often unseen or under‐rated or both.

This year it gives me great pleasure to present the award to a highly valued colleague ‐ Anne Walden Mills ‐ for her service to the Embroiderers’ Guild, previously as a trustee, regional chair, and branch chair but, most recently, as a digital magazine editor, insurance advisor and contributor to head office projects.

You may have been chased by her; prompted; reminded; chivvied; corrected even… well, so have I and it is much appreciated.

Terry Murphy CEO 28

THE COLLECTION CARE APPEAL The Embroiderers' Guild is a Charity The aims are to preserve the knowledge and skill of textile art

Cushion Cover 19th Century

The Collection, owned by the Embroiderers' Guild, is one of the few teaching collections in the world Byzan um by Margaret Nicholson

To secure the future of the Collection, the Embroiderers' Guild has made an arrangement with Bucks County Museum Trust They will provide storage, curatorial and conservation services at cost Punto in Aria by Paddy Killer

There will be a designated gallery named after the renowned embroiderer, Beryl Dean

Panel metal thread 17th C

We need to raise money to equip the Gallery and make the Collection accessible to the general public

Panel designed by John Henry

Chinese Pheasants, early 20th

HELP SAFEGUARD THE FUTURE OF THE COLLECTION Clema s by Kay Dennis 21st C by A donation to be included in a permanent display of contributors or A donation to be linked to a piece from the collection

For further information and to make a donation Please contact

Parrot Berlin work 19th C

CollectionAppeal@embroiderersguild.com

The Embroiderers' Guild is a company limited by guarantee and registered with the Charity Commissioners-Registered No.

Julia Caprara early work 1980

England 294310 - Registered Charity No. 234239

London Bridge at Night 20th C

Edited By Lesley Millar and Alice Kettle Published by Bloomsbery Academic IBSM 978­1­4742­8680­0 RRP £25.00 Reviewed By Linde Merrick 30

A compilation of papers exampling a refreshing change to the bright coloured “How to” books that have a place on our bookshelves. At last here is a book that puts textiles into the heart of academia.

The Erotic Cloth is an examination of the ‘seductive, exciting, intimate...or shocking’ quality of textiles through a series of 12 essays from leading academics, textile and other artists. The book explores the ways in which textiles can seduce, conceal and reveal through their interactions with the body.

In their Introduction, Lesley and Alice state that the book arises from their lifelong interest in, and working with, textiles. Lesley invokes ‘the bodily engagement of the weaver to produce the cloth’, while Alice praises ‘the magic power of the needle’ and ‘the forgiving character of cloth and thread’ 31

THE REPRESENTATION OF CLOTH

T

his examines the ‘use of

textiles within the canon of artistic history’, with discussions based around the 16th century painting, ‘Il Tagliapanni (The Tailor)’ and the 19th century marble sculpture ‘Girl intent on Writing’.

‘Carving adolescent girls in modern lacetrimmed chemises, not only introduced a new

Nigel Hurlstone’s paper explores the e ect of classic 20th century films on his sexuality and the eroticism he takes from the photographs of Montague Glover, on which ‘stitch is used

realism to sculpture but it also presented a

to deliberately veil their image

potent combination of the contemporary and

and break the structure of the

everyday.’

cloth’.

Claire Jones 32

Galleria d'Arte. Milano.

Giovanni Spertini, Girl Intent on Writing,1866.

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MAKING AND REMAKING CLOTH

T

his allows the authors to

‘present the erotic through clothing’ and show ‘the gestures of working with cloth as a portal to the erotic’. Debra Roberts' reconstruction of an ‘Fabric acts to conceal and cover objects and

18th century silk-ta eta sackback dress was undertaken to provide ‘an understanding of the fabric as a historical message’ and to show that ‘the sack-back dress...was erotic in design’.

Malcolm Garrity’s discussion

persons while at the same time disclosing

on the emergence of Punk and

them- hinting at their presects. Fabric is

the influence of Vivienne

malleable. It lends itself to wrapping, draping, and swathing. It restricts direct access to the naked object. but it also has the

Westwood’s designs on that subversive sub-culture

ability to suggest, enhance and draw

highlights the way in which the

attention to what it covers over and

‘clothing embraced a visual

adores’.

language of resistance and

Hamlyn 2012 34

closet sexuality’.

Vivienne Westwood, Destroy Shirt, BOY reprint 1991­1992 (origional Seditionaries design 1977)

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Collection: Malcolm Garrett Collection, Manchester Metropolitan UniversitySpecial Collections.

Photographer: David Penny

THE ALTERNATIVE CLOTH

T

his looks at the ways ‘the

clothes we wear can evoke, disguise, and rearrange our sexuality’. In her chapter – Present or Absent Shirts – Catherine Harper ranges over a selection of male images to substantiate her assertion that ‘it is the body that is alert or awoken to touch by the cloth’ rather than cloth itself being erotic.

The discussion on the film Blade Runner in the following paper concentrates on ‘the soft surfaces – the cloth or sometimes, the absence of cloth’ to support the authors’ contention that ‘these are surfaces that engage not just visually but haptically’.

Catherine Dormor in her paper, which ends this section of the book, suggests that ‘erotic cloth is...the almost

‘We leave a stain, we leave a trail. we leave

touch of the caress’ and that

our imprint.

‘warp and weft are brought

Impurity, cruelty, abuse,error, excrement. semen- there no other way to be here’.

Roth 2000 36

together as a site of agency...and erotic charge’

James Connolly's Shirt 1916

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Cotton Collection: National Museum of Ireland

THE PERFORMING CLOTH

T

his draws on the languages

postulates that ‘film can work

of film, drawing and dance

better that other media in

exploring the relationship

expressing erotic subtleties’.

between cloth and the body.

Masako Matsushita' discussion

Georgina Williams uses the

on her performance of UN/

artist William Hogarth’s

DRESS shows how she needs ‘to

concept of the line of beauty, a

exercise a rigorous self-control

serpentine curve to explore the

over her body’ whilst removing

eroticism in dance.

the layers of lingerie, whereas in her dance TaikokiaT, she

Liz Rideal by contrast

removes the kimono layers to

‘addresses heterosexual

‘reveal an aesthetic emerging

attraction and the erotic

from a delicacy of undress’.

through filmed cloth’ and 38

Loie Fuller, Dance of the Lilly, c. 1896

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Imagno/Contributor: Hulton Archive, Photo by Imagno/Getty Images.

Getty Editorial 545942997. Plotographer: Theodore Riviere.

THE AFTERWORD

Y

uko Ikeda supplies the ‘Afterword’, showing how ‘the

Japanese kimono is more subtle in its eroticism’ than drapery shown on marble sculptures and states that ‘The cloth of the kimono is very erotic, It is an eroticism that can be imagined through the eyes’

The Erotic Cloth ‘showcases a variety of debates that are at the heart of contemporary textile research’; ‘it is provocative and beautifully illustrated with colour images’. Each section is followed by notes, is extencively documented and often has recomdentions for further reading.

Although this absorbing book is not light reading and discusses what are often conceived as contriversial subjects, it will be a worthwhile reference for all students of textiles.

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Photographer: Gerry Diebel

Masako Matsushita, UN/DRESS,2015

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Linda Miller Artist and Teacher; Free Machine Embroiderer

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Linda Miller makes one-off, framed and unframed machine embroideries using an industrial Bernina 950 sewing machine. Her work is exhibited throughout the UK, Europe and the USA. She has pieces held in the Southern Arts collection and within the permanent textile and dress collection at the Victoria and Albert Museum.

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Linda teaches the art of

sumptuous array of threads in

machine embroidery. Her

a variety of colours, and

workshops are designed for

thickness, they present their

either the novice or the more

work to its full and deserved

confident stitcher who wishes

potential.

to explore the numerous techniques and textures

Linda undertakes commissions

created by threads and stitch.

and will work from

Working from a drawing,

photographs to produce a

picture or a photograph that

representational and often

inspires, and by using a

quirky piece. www.lindamillerembroideries.co.uk

OH No!! Rain! 45

In Conversation with Linda Miller

Who influenced your work?

Lots of Contemporary and historical artists/craftspeople that I admire, but I like to think that I am more influenced by the world around me; the light, colours, people, animals!

How? Ideas just seem to pop into my head, so I jot them down and add them to the others on my studio wall. It may be from a conversation I've had.

What do you like about the artists work who have inspired you?

Too many things to list. The placing of imagery, the use of colour and light, the composition of the piece, the ideas behind the piece; how it makes me feel.

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Are there any meanings behind your work?

Sometimes, but usually they're snapshots of scenes and situations. I never like to say what meanings I might be working to as I prefer the work to speak for itself, and other people may feel constrained in what they feel about the piece if I say what I think it means.

Any reason why most of your pieces are set out­doors?

I like the outdoors, the space, the weather conditions.

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Do you sketch your pieces of work before making them into textile pieces?

I always start with an idea, then a drawing mapping out my design.

I embroider the figures first, then the background.

Do you do samples for your of work before you create the final one?

No, once I am happy with the drawing I work with my machine

What techniques do you use?

I’m not sure I have techniques that I use but I’m sure anyone watching me would beg to differ.

I just have an idea and start making.

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What is your favourite aspect of machine embroidery?

Stitching with sumptuous threads, to create a piece which can be enjoyed by others.

In much of your work the weather appears to play a big part in the scene?

My weather pieces are about the joy of being outside in unpredictable weather. Living in a climate where the weather is changeable plays a great part in our conversation and thoughts; "Should I take an umbrella? Is it going to rain? Will I be too hot in this jumper? Do you think the clouds will clear?"

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People in big coats, warm coats, gloves, hats, scarves, dogs in coats, being blown about, hurrying home to a warm house. Running along a beach, up a hill enjoying the thrill of being outside in such a climate but also looking forward to going home to where all is still, loving and warm.

My birds are studies of the shoreline, gentle birds going about their business. Coastlines sunny and warm, wanting to watch the birds without disturbing them, feet and toes on warm sand, paddling in the water

Contact Linda www.lindamillerembroideries.co.uk linda@lindamillerembroideries.co.uk

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If you would like to know more about Linda's work, watch this video

Fashion Embroidery Jessica Pile Published by Pavilion Books Group Ltd ISBN No 978­1849944748 RRP £25.00

This practical step­by­step guide to haute couture embroidery covers everything from machine and hand stitching, to tambour beading, goldwork and monogramming.

In this beautifully illustrated book, explores the intricate techniques used in fashion embroidery.

The book demonstrates the basics of three main techniques – goldwork, tambour beading and embroidery stitches. Projects helpfully explain the basics of materials; and where to source these materials. Taking influences from existing couture designs, Jessica looks at examples of embroideries and embellishments by a variety of couturiers, including Christian Dior, Louis Vuitton, Hardy Amies and Burberry.

This book is perfect for fashion students, textile artists, and those who want a more unique look to their clothes.

Robert McCoffrey

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Colourful

Lake Atitlan

Guatemala Lynn Love

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When a friend said ‘Do you fancy going to Guatemala?’ it was a beginning of a wonderful experience. I always ind it hard to say ‘no’, hence the holiday, and possibly the reason I am writing this piece.

By the time I went to Guatemala in November 2015, I had already visited many countries of Central America and most in South America. Tikal, the largest Maya site in the world was probable the main attraction for me.

Guatemala lies south of Mexico and stretches from the Paci ic to the Caribbean. It also borders Belize, Honduras and El Salvador.

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Guatemala was the centre of the Maya civilisation. In the 16th century the Spanish conquered most of the territory. Today both cultures are very evident and it was wonderful to see many Maya people wearing their traditional colourful clothes.

After arriving in the capital Guatemala City, our irst stop was the previous capital, the colonial city of Antigua which is surrounded by volcanoes. Many of the buildings have been restored after an earthquake in 1773 so the city has many colourful baroque buildings, including the Church of San Francisco.

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Chichicastenango is a town famous for its market. It is just an amazing place with colourful materials, beads, sewing threads, pottery, baskets and people. A feast for the eyes. Sadly, my visit was before my interest in textiles developed, so I didn’t buy what I would love to buy now ........

(Must go back!)

In Guatemala’s highlands lies Lake Atitlan.

The lake lies in a massive volcanic crater and is surrounded by a number of conical shaped volcanoes. Colourful plants and birds surround this magni icent lake.

The last area we visited was near the border with Belize and is where the ruins of Tikal can be found. It is thought the Maya settled here around 900 BC and at its height had a population of more than 100,000. After it was abandoned the jungle reclaimed the site and it was less than 200 years ago the site was rediscovered. There are more than 3,000 buildings in the park and shown here Temple, also known as the Temple of the Great Jaguar.

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Tikal is one of the most visited sites in Guatemala. Nearby is a relatively unknown Maya site called Yaxha which we visited the following day. We were the only visitors and because it was so quiet, it was very atmospheric ...... and slightly spooky.

We left the peace and tranquillity of Yaxha for the hustle and bustle of Guatemala City where we started our journey home.

I love this country; colour abounds, in the towns, the people and the birds. Even the cemeteries are colourful!

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SAMPLED LIVES SAMPLERS FROM THE FITZWILLIAM MUSEUM Linde Marrick

S

hould you happen to find

yourself in Cambridge with an hour to, spare, pop into the Fitzwilliam Museum.This relatively small, but beautifully curated exhibition has been extended from its original 3 month slot to run until 7 October 2018 and is well worth making an effort to see. I really can’t put it any better than the Museum’s own website entry: ‘Showcasing over 120 samplers from the Museum’s excellent but often unseen collection, this display highlights the importance of samplers as documentary evidence of past lives’.

T

hese beautifully embroidered

and stitched samplers illuminate the lives of girls and women, from mid17th century English Quakers to early 20th century school pupils, encompassing their education,

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employment, religion, family, societal status and needlework skills.

S

pot motif samplers, band samplers,

darning and marking ones - such an absorbing array of embroidery! The incredible tiny stitches on many, then there were the fantastical creatures, or the moralising texts to wonder at! A delight to the eyes allied to amazement at the skill of the young embroideresses in many of them, made for an absolutely absorbing and educational visit. ‘The display also highlights the individuality of each sampler, which in some cases is the only surviving document to record the existence of an ordinary young woman.�

M

ost of the makers are, of gentry or

well to-do families. Their work is a testament to the embroidery skills that were a key element in a female identity.

D

efinitely a highlight of my recent

museum visiting and I hope to be able to get the chance to have a second look.

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Embroidery Magazine Whether you are a keen embroiderer or simply love fabric and textiles, Embroidery magazine is filled with ideas and features to inspire you.

Each edition is packed with colourful features on contemporary and traditional textiles, and keeps you up to date with news of the latest shows and events taking place around the UK. Our diary and what's on pages show you what's hot, while our features delve into the vibrant world of textiles, fashion and embroidery ­ covering everything from craft to catwalk and more!

Our mission is to bring you the best of embroidery and textiles, talking to makers and stitchers who share their passion for embellishing the surface with us – giving our readers a unique insight into all facets of this sumptuous craft. In our book section, you'll find the latest books on fashion, embroidery and textiles.

May/June 2018 issue of Embroidery Magazine

In this issue......

Editor, Jo Hall, says: When Embroidery was launched in 1932 one of the main reasons for its publication was to encourage original work. The magazine wanted to inspire its readers to develop their own designs and to move away from copying the mass­produced needlework patterns so popular at the time. Today, 86 years later, that vision has been realised and now, as this issue reveals, we love to champion the every­increasing diversity within embroidery practice. Janet Bolton first showed her work to the world in the 1980s and her human, intuitively stitched patchwork pieces were an instant hit. We fell in love with Takashi Iwasaki's unique imagery; with its joyful colours and exuberant motifs, few would guess the personal nature of its expression. Hagar Vardimon has been working with paper and thread for over ten years and is part of a generation that sees fresh applications for embroidery, in her case stitching on collages rather than canvas. For makers, the path can take many turns, Caroline Zoob has enjoyed exploring the detours her career offered and her embroidery business is still going strong today. Likewise fellow maker Lisa Vaughan Thomas continues to explore new ways to grow ­ balancing a creative business with a personal practice. Our A ­ Z rounds up our features with a look at the relationship between text and textiles. As a journalist with a love of textiles, I am always intrigued by the marriage of these two expressions. We were so excited to work on this issue; we hope that you will love it as much as we do!

For details on how to subscribe please click here Embroidery is also on sale at a limited number of retailers: 61

FROM SHEEP

TO YARN

Jen Best

Sheep to Yarn or How Beaker Button Warrenfield Sock Wool is Made I’ve always wanted my own sheep so I could produce yarn from the raw fleece to the finished product, to sell in my shop.. BUT!!! I’m allergic to lanolin, so looking after sheep isn’t the best of possible options for me.

Luckily I have a friend, Elizabeth Scott, who owns Warrenfield Farm with her husband. They raise Hampshire/Oxfordshire Down sheep. Two years ago I bought 30kg of fleece from Elizabeth, and this is the story of “How Sheep to Yarn” came about.

64

The sheep were sheared at the end of May, and we picked them up in July.

They had to be “skirted” and then rolled into bundles. Skirting involves pulling the dirty fleece from around the edges.

We drove to Launceston in Cornwall to deposit our fleeces at the “Natural Fibre Company” where they would turn our fleece into yarn. They specialise in spinning small batches for people like me.

If you soak the waste fleece in water for a few days it makes a fantastic fertiliser. Pour the water on your garden and leave the fleece out for the birds to make nests. They love it!

The process takes a few weeks, as they have to stick to one colour at a time, so it can take months to get your yarn back.

Ours took four months as we had to wait for the next white run.

The bags were weighed and we paid our deposit. You lose about 40% of the fleece in the process so our 30kg of fleece came back as 16kg of yarn. You pay by the amount of skeins you get back. Everything is labelled and fully traceable throughout the whole yarn­ making process so you know you’re getting your own beautiful fleece returned.

65

The fleece is sorted by experts to get rid of anything not worth spinning. This is where most of that 40% I mentioned earlier gets lost. The remaining fleece is then washed in a huge old machine, which takes up most of the length of the mill. The machines are cleaned between each batch and deep cleaned before a colour change or an organic wool is washed. The noise is incredible!

The water is disposed of with a local farmer as it has various chemicals in it.

He has a contract to reuse the water safely.

The clean fleece is then tumble dried in a massive tumble drier. This causes the fibres to felt, as you can imagine so it then has to go through a machine full of teeth which teases the fibres apart again.

The resulting fibres look like stuffing. They can then be carded in the carding 66

machine. This is another huge machine running the length of the mill. It combs the fibres into soft, cloudlike strands called tops.

The tops are then carded into rovings, very fine, thin strands with a few fibres all running the same way.

Felters and hand spinners often use tops. You can buy them in all sorts of colours and they’re great for all sorts of textile arts and crafts.

The rovings are spun into single strands of wool and if they break during spinning the only thing to do is tie them together again. It’s not economical or practical, or even possible really, to fish out the cone with the knot and discard it.

The best way to beat knots is to wind your ball into another ball and deal with any knots as you go. Then you have no surprises, your ball will run better as you use it and there isn’t any wasted yarn.

They are spun onto long thin cones and there are kilometres of yarn on each 67

cone. The cones of singles are then plied into yarn, usually two strands twisted together, and wound onto cones like you would use for machine knitting. They’re then wound into balls ready for sale, or skeins ready for dyeing.

We had ours wound into skeins which were then dyed by me in the shop.

Jen Best Beaker Buttons https://www.beakerbutton.co.uk info@beakerbutton.co.uk

68

Join the Embroiderers' Guild Be part of a Charity which is the only organisation in the UK that exists to support, educate, promote and inspire the art of stitch and textile design. We are part of a world­wide community of Stitch. The Presidents of the Guilds in Australia, Canada, New Zealand and the USA are Honorary Members. We encourage exchanges of information and news.

Click on the photos to find out more

ourses

c On line

Holidays & Overseas escorted tours

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Staying in to uch w international ith the scene

t o N y e n r u o J a n s o i i t t a r n A i t s e aD

The Oxford Textile Artists Group is celebrating its 25 year anniversar y with an exhibition called "journeys"

The Oxford Textile Artists group is celebrating its 25 year anniversary with an exhibition called ‘Journeys’.

We recently had a change of name after the stewards at one of our exhibitions was asked where the sewing machine workshop was!

One founder member said she couldn’t believe how the time had flown since the group was set up in 1993 as the Oxford Textile Workshop.

70

The group, started by some committed textile enthusiasts, still has the same objectives, to share our love, skills and experience of textiles with each other. Some of the founding members still attend the group while others have moved on owing to a change in their lives and commitments. New members are welcomed into the group of 30 with enthusiasm and experience still more important than paper

qualifications.

We meet once a month, on different

days of the week throughout the year,

except in December, with our AGM and lunch in November! This year, as it is our 25th anniversary, we decided that we would have a special exhibition to celebrate the work of the present and founding members. The exhibition would be called "Journeys" which

we thought would give interpreted the title all our members a ‘Journeys’. chance to demonstrate their individual interests. Once the venue, the Oxfordshire Museum at We have been working for this exhibition for over a Woodstock, and the dates were decided, year, members really This was a good choice concentrated on their as can be seen by the own work. many different ways that members have

71

‘Journeys’ has been Our Chairman, Jane, The work was interpreted is amazing, led regular discussions delivered to the museum on Tuesday journeys of Time, at our monthly May 1st , the hanging There are actual journeys to different team had a well countries around the organised system of world, spiritual and checks and forms and emotional journeys and journeys concerning only a couple of days to hang the exhibition, natural and environmental issues. so plans had been drawn up beforehand to help the process! meetings, a hanging team was decided and forms for handing in work were produced. A stewarding rota and publicity was begun, and members were kept informed of all the arrangements at meetings or by email.

Oxfordshire Artweeks was also to be launched from the gallery and there would be a workshop with Jan Beaney and Jean Littlejohn at the museum during our exhibition.

72

A first look at the gallery for most members and we were not disappointed; the exhibition is exciting, colourful and shows off everyone’s wonderful work to its best. It was lovely seeing so many members and their guests enjoying the exhibition, the sparkling drinks and amazingly decorated cake.

The varied way that

Place and People.

There are actual journeys to different countries around the world, spiritual and emotional journeys and journeys concerning natural and

environmental issues. exhibition has We hope that visitors presented some to this exhibition will challenges, but we

experience and a love of textiles with each other.

Mair Edwards

The exhibition continues at the Oxfordshire Museum in Woodstock from until June 3rd.

experience some of the joy and pleasure that we have had from making this work, the

The Private View last Saturday was ver y enjoyable,

have greatly benefitted from the experience of working and sharing our passion for textiles together. It has reinforced the aims of the group when it was first set to share skills, 73

Kansas City Gem

In 2016 I travelled to Chicago to meet up with a friend and journey onto Kansas City, Missouri to a convention. I wasn’t sure what I would find there, so I was more than pleasantly surprised to find a little known museum holding an amazing array of treasures.

The "Arabia" sank in 1856

They are from the pre­ Civil War days. In the market place is the Steamboat Museum which 74

The “Arabia” a paddle steamer, was built in West Brownsville, Pennsylvania, in 1853. Being a side­wheeler (having one paddle wheel on each side, rather than just one on the back) made it easier to manoeuvre around hazards like sandbars and snags. She floundered on the Mississippi River on the 5th September 1856, having hit a snag.

houses the contents of the paddleboat "Arabia" It sank in the Missouri River in 1856. The museum is owned by the families which found and excavated the boat.

All lives were saved

They had hoped to find whiskey and gold on board but instead they found, what to my mind, was a greater treasure. On board were 200 tons of goods headed to the frontier for people to start their new lives and businesses.

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An amazing collection of household items kept safe for the two families and some friends to discover in 1988. These included cutlery, crockery and cooking equipment. Clothing, including 4000 pairs of boots and shoes for men women and children. Textiles, thimbles, needles and pins all ready for their new owners.

The Arabia sank on September 5th 1856 after hitting a submerged tree.

Everyone on board, except for a mule, was saved but the goods destined for the West and the belongings of the passengers were not.

There was 200 tons of goods on board

They sank with the "Arabia" into the mud. The Missouri is a restless river which shifts its course. It moved away to the east leaving the "Arabia" in a muddy field. The mud 76

excluded the air and preserved this amazing collection of household items keeping them safe.

They were discoved in 1988.

The Arabia was discovered in the mud in 1988

The discovery included cutlery, crockery and cooking equipment and 4,000 pairs of boots and shoes for men women and children. There was also textiles, thimbles, needles and pins all ready for their new owners. Beautiful 77

buttons and the more mundane. Beads for trading were all waiting to be found. The list goes on and on. Of course once lifted out of the mud and exposed to the air the items began to dry out and decay The "Arabia" Steamboat Museum

They had to be carefully preserved, a process which still continues 30 years later. We were told to ask to see the rolling pin once we got to the laboratory.

The conservator produced a tray of shards of wood 78

Artic take

Native Americans used noisy, yet decorative, ornaments called “tinklers” to decorate their apparel. Artisans used thimbles or pieces of barrel hoops and tin cans to make tinklers before attaching them to leather fringes of clothing, bags and pouches.

Occasionally a small thimble would be placed inside a larger one to create a bell.

cle and photos by Pauline Johnson en at the "Arabia Steanboat Museum"

where an unpreserved rolling pin had shattered as it dried out. Without careful preservation very little would now be worth seeing.

It is a stunning display so if you are ever near Kansas City take time to visit and be transported back to the days of the Old West through the amazing artefacts found under a farmer’s field.

If you would like to learn more then visit the museum website

http://1856.com 79

e h s t e

t o s m h a c o r f P E

By

Anne Sandwell I have recently been helping pack up my

sister­in­law's home and found these tablecloths

They would have belonged to her mother as they date from the 1930s.

80

Afternoon tea with a pretty cloth and china is now a special event at a venue. The hours of work It embroidering these treasures show a more leisurely lifestyle, They were often done by young girls who were anticipating marriage.

Maud (her Mother) had three sisters and when young Joan had to accompany them all on shopping outings which she found very boring! It was fascinating to find these treasures, as well as the embroidered pillow and bolster slips.

Now to find a home for them."

81

In 2003 I embarked on an Art Access course at Basingstoke Technical College. This followed being made redundant at the age of 52 from a wonderful job. I knew it would be difficult to replicate it, so I decided to do an art course. It was a general grounding in all art departments: textiles, glass, metal, wood, fine art, printing and everything else you could imagine. I left there with the wherewithal to study further.

A lot of water has passed under the bridge since then –

Basingstoke College of Technology Revisited!

78

I recently learnt that there were

There are a number of mini-

facilities available to hire at

masterclasses (13 in printed textiles, 6

Basingstoke Technical College. As I

in textile dyeing) Having done a

like screen printing – and that needs a

marbling on fabric mini masterclass, I

lot of space, I decided to enquire

have to say it was excellent value – all

further.

materials supplied and it easily overran its allotted time.

On the website are details of short courses and studio hire, which gives

I learnt 2 ways to marble print onto

access to technicians, discounts on

natural fabrics and a way to print onto

courses, opportunity to exhibit in the

synthetic fabrics (actually using

end of year show. As well as access to

disperse dyes onto paper, then using a

specialist software, use of their studios, heat press to transfer it to the fabric). supplies available to buy (very reasonably) on site and use of the

After the workshop finished, I had

library, not to mention free parking.

pre-booked 3 hours studio time. The technician had already prepared the

So, I decided to investigate further.

dye thickener for me.

79

I learnt 2 ways to marble print onto natural fabrics and a way to print onto synthetic fabrics 80

(actually using disperse dyes onto paper, then using a heat press to transfer it to the fabric).

This was a saving as it usually needs

Basingstoke Technical College is

to set overnight. I was ready to make

offering our branch of the

up my dyes and started creating

Embroiderers' Guild, a course of yarn

screens for my breakdown printing.

dyeing – watch this space for further details.

This is a way of printing where you leave thickened dye to dry onto a

I understand that one of the sad

“silk” screen. After about a week, you reasons that these facilities are being can print through the screen onto

made available to the community is

fabric and random patterns are created that they no longer have their BA in as the dyes break down slowly – each

Fashion Textiles. This is giving spare

print being different from the last.

capacity. I fear that, if it isn’t used, it will be lost to Basingstoke.

All types of equipment are available sewing machines, printing presses, an

Contact them if you would like to

industrial iron (I want one of those at

“play”! For further information

home!), heat presses, foiling presses,

https://www.artstudiosbcot.co.uk

photo-emulsion screens (they have offered to create screens from some of my sketches), weaving and knitting machines.

Sue Crook

81

Reading o Paul Walden­Mills

on Thames See the Video Welcome to Reading

87

The Reading Branch of the Embroiderers Guild

June Withers

The Reading Branch was formerly known as the Berkshire Branch

88

Marian Clegg

The Reading Branch was known originally as the Berkshire Branch. It was started in 1945 by the Red Cross Detachment of Yettendon after a large meeting at the Rectory in Yettendon. Some members formed small groups to assist the Red Cross with their occupational therapy with the trauma victims of the Second World War.

Valerie House

Jean Rooke

There have been many well known embroiderers who have been members of the Berkshire Branch. Amongst these were Jane Lemon, Jan Messent, Marie Whitworth, Lady Hamilton Fairley and Nenia Lovesey.

Reading Branch always has a varied programme of speakers covering all aspects of embroidered textiles from historical to modern mixed media techniques, including quilting, felt making, accessories and textiles from across the world.

They meet on the last Wednesday of the month (except August and December) in the morning to chat and stitch. Often with a tutor to enable members to keep up to date with new trends and ideas.

All visitors are welcomed to their events and meetings.

They meet at Click here to see more pictures

The Park United Reformed Church, Palmer Park Avenue, Reading RG6 1DN. 89

Out now… available from W H Smith on 31st May 2018 ­ the June/July 2018 issue of Stitch magazine.

The essential hands­on magazine for creative stitchers, STITCH with the Embroiderers’ Guild brings you traditional embroidery techniques and also a wealth of creative contemporary ideas.

Through how­to­do­it projects and articles from many of the world's leading embroidery tutors and designers, get STITCH­ ing and discover contemporary free­machine embroidery and explore traditional techniques like canvaswork, goldwork, crewelwork, stumpwork, blackwork and Hardanger.

Our mixed­media projects combine stitching with all sorts of materials and techniques – the list is endless and the only restriction is your imagination.

Our mission is to take you on an exciting, creative, textile journey…

• Suitable for beginners and experienced embroiderers • How­to­do­it projects with clear instructions • Explore traditional techniques and stitches • Give your work the ‘WOW’ factor using innovative products Stitch can be sent anywhere in the world so treat yourself, friends or family to the perfect gift that lasts all year. Inspiration delivered to your door!

You can still get your copy of Stitch 113 if you cannot get to a branch of WH Smith or your local branch has sold out. All you have to do is:

Click Here to Subscribe online.

Book Reviews Just Stitch by Lesley Turpin­Delport & Nikki Delport­Wepener Search Press ISBN 13/EAN: 9781782216810 RRP Price: £14.99

Stitch Stories by Cas Holmes Search Press ISBN 13/EAN: 9781849942744 Price: £22.50

Stitched Textiles ­ Nature by Stephanie Redfern Search Press ISBN 13/EAN: 9781782214526 RRP Price: £15.99

Joyful Stitching by Laura Wasilowski Search Press ISBN 13/EAN: 9781617455674 RRP Price: £16.99

A Perfect World in Ribbon Embroidery & stump work. by Di van Niekerk Search Press ISBN 13/EAN: 9781844482313 RRP Price: £14.99

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Just Stitch by Lesley Turpin­Delport & Nikki Delport­Wepener Search Press ISBN 13/EAN: 9781782216810 RRP Price: £14.99

92

Just S tch is a well presented book with excellent illustra ons and easily understood text.

The authors use flora and fauna for their inspira on drawing on their travel experiences and their homeland of South Africa.

‘New dimensions – exci ng techniques’ is a sec on at the beginning of the book which explains with well wri en text and well used photographs many different ways to create raised embroidery.

These include using textured threads, beads, stumpwork, ribbons, trapunto quil ng and much more.

The varied and original designs are organised in colour themes; these include beau ful flowers, very interes ng insects and appealing birds. Each project has clear instruc ons, diagrams, photographs and include a variety of techniques o en in different ways.

My only nega ve comment of this otherwise excellent book is about the s tch glossary which could be be er. It might be useful to have a s tch dic onary handy for reference, par cularly if you are new to embroidery.

Just S tch is a book that would appeal to someone new to s tching wishing to develop their skills or to the more accomplished embroiderer looking for fresh ideas. Each project could be worked as described or elements of several designs could be combined to create an original piece of work.

Carol Winter

The cover of S tch Stories is interes ngly printed tac le fabric that invites you to open the book and find out more.

Inside you will find excellent photographs, inspira onal art work and clearly wri en text. All of these are used to good effect to explore and develop the ideas in the book.

S tch Stories does not contain complete projects but is rather a ‘how do guide’. The author encourages you to explore personal experiences, interests and familiar places for inspira on. The use of sketch books, journals and photography are explained to help you record your informa on.

Don’t be afraid of this all the ideas can be easily adapted to suit your level of confidence and experience.

From your ini al inspira on the book is full of processes and techniques to enable you to create a unique piece of s tched fabric. Again all of these do not have to be followed but may encourage you to try something new and different.

The use of tex les to tell a story is endless and this book is a good place to start. There may only be one idea in the book you wish to explore but who knows what may follow.

I liked the inclusion of the work of other tex le ar sts, many of whom were new to me, to illustrate ideas and techniques; this added another dimension to the book.

This book may not appeal to everyone but is well worth looking at for inspira on and ideas. S tch Stories will find a place on my bookshelf. I may never use the ideas or techniques described.

However it is a book I will open o en, each me finding something new and maybe that s tch story will come to life.

Carol Winter

Stitch Stories by Cas Holmes Search Press ISBN 13/EAN: 9781849942744 Price: £22.50

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Stitched Textiles ­ Nature by Stephanie Redfern Search Press ISBN 13/EAN: 9781782214526 RRP Price: £15.99

94

In the introduc on to this colourful and a rac ve book the author states that ‘There is something in nature to inspire everyone, from a forest to a single tree; from the ocean to an in mate study of a shell; the beauty of a single pebble, leaf or a perfect bu erfly.’ She proceeds to offer prac cal advice on techniques and themes to encourage readers to embrace the variety of the natural world.

The sec on on materials and equipment includes a wide range of items she uses in her work with numerous a rac ve illustra ons and a realis c a tude to cost. It is reassuring to read that ‘there are no rules; you can work in any way you like’ rather than feel it is necessary to follow direc ons to the le er, par cularly for less experienced s tchers. The poten ally scary process of designing is broken down into smaller sec ons and again helpfully illustrated. The science and language of colour is treated simply but accurately. Techniques men oned include machine and hand‐s tching, embellishment, colouring and prin ng and also trace the development of a design from sketch to s tch.

The la er half of the book is devoted to a variety of nature‐inspired themes; a er an introduc on each include a step‐by step project. These are far from prescrip ve and include many sugges ons for varia ons and the use of alterna ve materials.

The book is extremely colourful with very a rac ve illustra ons; the contents are accurate and down to earth with a good mix of informa on and ideas for s tching. It is very much a ‘dip –in’ book and would be especially suitable for rela vely inexperienced s tchers. However even the more experienced would find it a useful collec on of informa on and techniques.

Hilary Jenkins

‘Joyful S tching’, a very apt tle as the cover of the book makes you smile and want to look further. The book is nice to handle and is full of colour photos that show every stage of crea ng the many sample illustrated. As it says on the cover with this book you can learn how to "transform fabric with improvisa onal embroidery" and have a lot of fun in the process.

The detail given about the materials, threads and s tches is very clear, excellent for a beginner but not too distrac ng for the more experienced embroiderer.

S tch on wool, felt, or silk, and enjoy the simple pleasure of s tching. The author also uses a lot of variegated skeins which adds a lot of the liveliness. I really felt that I wanted to have a go at crea ng something so colourful and ‘joyful’ either following one of the authors designs – A Rare Songbird, A Tasty Bite of Apple, Yellow Landscape – or even making up one of my own.

Anne Sandwell

Joyful Stitching by Laura Wasilowski Search Press ISBN 13/EAN: 9781617455674 RRP Price: £16.99

95

This beau ful book with 17 illustrated panels each star ng with their own inspira onal introduc on is a delight and en ces the reader to delve further. They give an informa ve background to new ideas and techniques that will appeal not only to all embroiderers, but also to cross‐ over quilters. Each project is achievable for the novice and the more experienced alike.

The original watercolour design is by South African botanical ar st Verde. There are instruc ons for over sixty elements ranging from ny creatures to beau ful plants from all over the world. These are featured with understandable A Perfect World in

direc ons which, when reading, almost feels like a

Ribbon Embroidery

conversa on with the author. This a lovely book in

& stump work. by Di van Niekerk Search Press ISBN 13/EAN: 9781844482313 RRP Price: £14.99

96

which to lose yourself.

Mary Blundell

War Stories Commemorating the 100th Anniversary of the end of World War 1 with Exhibitions throughout the UK, each one comprising 100 Hearts in association with SSAFA ­ The Armed Forces Charity (Wilts) We are inviting Guild members to take part in the commemoration of the ending of WW1 A 100 years ago on 4 November 1918, the Austro­Hungarian empire agreed to the Armistice of Villa Giusti, and Germany.

They signed the treaty on 11 November 1918, ending the war in victory for the Allies.

The Embroiderers' Guild will commerate this by producing one heart each.

The hearts will be exhibited in major exhibitions such as at Knit and Stitch and in other major venues throughout the UK.

Members Challenge 2017/2018 UNDERFOOT

(... UNDER ONE'S FEET, ON THE GROUND)

The Winners

Greta Fitchett ­ Weybourne Beach Julia Caprara Award for Colour

92

Jean Chisholm ­ Dungeness Beach Valerie Campbell­Harding Award for Machine Embroidery

Jean Usher ­ ....I Lay Waiting Margaret Nicholson Award for Composition

Carrie

Jane Dra

e Archer ­ Patched Up Pavements e Lemon Award for ama and Creativity

Janet Payne ­ Retro Artistic Director's Award for Design and Technical Excellence

Mind Your Step by Su Allington Constance Howard Award ‐ Overall Winner Beryl Dean Award for Hand Embroidery

99

Members Challenge 2017/2018 UNDERFOOT (... UNDER ONE'S FEET, ON THE GROUND)

illiams Marilyn W eaves p L Kicking u

100

Judith Castle Down and Out Jane Lemon Award for Drama and Creativity Commended

Unde Gill Moor r f oot , e Dese rt San d

s

SEW Members exhibited at the exhibition

Phillipa Moggridge Tides Out Julia Caprara Award for Colour Highly Commended

en­Mills Anne Wald nderfoot m U It grows fro

Joan B L o st C a r kh a m hildhoo d 101

Further Information

Michele Carragher

mail@michelecarragherembroidery.com

michelecarragherembroidery.com

Anna Slawinska

www.annaslawinska.pl

Linda Miller

pracownia@annaslawinska.pl

linda@lindamillerembroideries.co.uk

Hand and Lock

robert@handembroidery.com

handembroidery.com

Embroiderers' Guild

ceo@embroiderersguild.com

embroiderersguild.com

Jo Beattie

info@jobeattie.com

www.jobeattie.com

Lesley Millar

lmillar@uca.ac.uk

Bloomsbery Academic

contact@bloomsbury.com

www.bloomsbury.com/academic

Pavillion Books Group Ltd

info@pavilionbooks.com

www.pavilionbooks.com

The Fitzwilliam Museum

reception@fitzmuseum.cam.ac.uk

www.fitzmuseum.cam

Jen Best

info@beakerbutton.co.uk

www.beakerbutton.co.uk

www.lindamillerembroideries.co.uk

1856.com

Arabia Steamboat Muaeum Basingstoke College

information@bcot.ac.uk

Reading Branch

mail@embroiderersguildreading.org.uk www.embroiderersguildreading.org.uk

Search Press

searchpress@searchpress.com

Paul Walden­Mills

edraconus@hotmail.co.uk

www.bcot.ac.uk

www.searchpress.com

O Ou urr tth haan nkkss tto o aallll tth hee p peeo op pllee w wh ho om maad dee tth hiiss M Maag gaazziin nee Contents

Michele Carragher

Mair Edwards

Anne Sandwell

Jo Beattie

Sue Crook

Carol Winter

Lesley Millar

Linde Merrick

Hilary Jenkins

Anna Slawinska

Jen Best

Mary Blundell

Robert McCaffrey

Pauline Johnston

Bloomsbery Academic

Linda Miller

Paul Walden­Mills

Search Press

Lynn Love

The Embroiderers' Guild

Photographs

Lesley Millar

Anna Slawinska

Pauline Johnson

Robert McCaffrey

Jen Best

Basingstoke Tech

Jo Beattie

Lynn Love

Roger Bamber

Linda Miller

Mair Edwards

Asako Ishizaki

Michele Carragher

Anne Sandwell

Paul Walden­Mills

Benaroya Pictures

Pauline Lawence

Embroiderers' Guild

Videos Michele Carragher Making Embroidery Anna Slawinska The Making of The Night Meadow Linda Miller Free Machine Embroidery Designs Hand and Lock Virgin Galactic Paul Walden­Mills Welcome to Reading Editors Anne Walden­Mills (Editor) Amanda Smith (Proof Reader) Please send contributions for the next magazine to:­ The Editor at sewregion@hotmail.co.uk by 14 October 2018

The title this year is "LIFE’S RICH PATTERN". We had a wonderful response to last year's competition "UNDERFOOT" and the judging panel felt that this year’s subject again has great potential for interpretation and style. Examples of some of the ways in which the title can be interpreted are listed below together with images shown above.

Tattoos/scarification Inside the body Journey through life – special occasions that punctuate our lives and make us who we are Memoirs Patterns that are formed as part of a culture or religion Mosaics/floor tiles/ (Ravenna, St Marks floor etc) Juxtaposition of pattern and cultures Rhythm of life Pattern within nature (seed heads, petals, scales, camouflage) The changing seasons Repetition For more information click here